Archive for the ‘Post by Sadanand Kamath’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
It is a well known fact to all those interested in Hindi film music of golden era that Mohammed Rafi regarded G M Durrani as his idol. In the initial period of his singing career starting with his public and private performances, Mohammed Rafi used to imitate the singing style of G M Durrani. In the later 40s, as he started getting assignments for playback singing in Hindi films, somewhere during this period, he developed his own style of singing. Perhaps to some extent, credit should go to the music directors like Naushad, Husnlal-Bhagatram and Shyam Sundar who groomed him suitably in the initial stage of his playback singing. Later, with the popularity of his songs in ‘Baiju Bawra’ (1952), he reached the stage of ‘take off into a sustained growth’ in his playback singing carrier. The rest is history.
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Le jaa apni yaad bhi le jaa
Posted on: November 7, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Last year, I had written an article for this blog on saajan tum se pyaar karoon main from the film BADNAAM (1952) as a tribute to Basant Prakash, the music director of the film. Recently, I came across another lovely song ‘le jaa apni yaad bhi le jaa’ from the same film. This song has some similarity in music composition with that of preet ye kaisee bol ree duniya from “Daag’ (1952). Even the metres of both these songs, more or less, match. Incidentally, both these songs were penned by Shailendra and sung by Lata Mangeshkar. So one link led to another and in the event, I noted the following interesting observations concerning these two films.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
It is said that Prabaht Films’ ‘Amrit Manthan’ (1934) has the distinction of having songs in ghazal format for the first time. I found that there were 3 songs in this film in ghazal format written by Veer Mohammed Puri. I had never heard of the name of this lyricist (or poet). So the curiosity led me to make a search for his name in websites. Unfortunately, I could not get much information about the lyricist except a hint that he was a poet which I guessed from a ghazal ‘kamsini mein dil pe gham ka bhaar kyon’ from the same film that he had used ‘Veer’ as his takhallus (alias) in the maqta (last she’r) of the ghazal.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
HASEENA (1955) was produced under the banner of Shabaab Productions and directed by J P Advani. The star cast included Jairaj, Shyama, Krishna Kumari, Amarnath, Manmohan Krishna, Durga Khote etc. I had not heard of this film until few days back. With Jairaj in the film, my guess turned out to correct that the film was a costume drama as the story unfolds below.
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Behti hawa sa thha wo
Posted on: October 17, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
About a month back, I, my wife and four of my close relatives visited Leh-Ladakh on a two week’s trip. Rather than a relaxed holiday, the trip was an experience in itself. A flight from Delhi for Leh meant that there would be an altitude gain from 292 metres in Delhi to 3550 metres in Leh in about one hour time. It was the best option from the point of view of acclimatisation at a higher altitude. So we had to confine ourselves to our hotel rooms in Leh for 24 hours without doing much of an exertion as part of acclimatisation processes for getting used to the lesser oxygen at higher altitude. Furthermore, during our trip, we were to cross three very high altitude mountain passes – Khardung La, the world’s highest motorable road (5600 metre or 18380 feet above sea level) for visiting Nubra Valley, Chang La, the world’s third highest motorable road (5360 metres or 17585 feet) for visiting Pangong Lake and Fotu La ( 4100m or 13480 feet) for going to Kargil. Fortunately, we did not face much of a problem except some mild altitude sickness experienced by two of my relatives which got resolved quickly as we descended.
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Shiqwa tera main gaaun
Posted on: July 12, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
During the early 70s when I got interested in Hindi film songs of the golden era. I had heard from my seniors in this field talking about singers, music directors and lyricists of 30s and 40s with some anecdotes. While, I had almost forgotten many of the unfamiliar names over a period of time until the advent of the internet technology, one of very few names which firmly remained in my mind was that of D N Madhok. From their discussions, I had then realised that he must have been an influential lyricist of his time. He was stated to be one of very few lyricists of that time who used to give lyrics to music director with tunes. While this may be a boon for the struggling music directors, my guess is that the established and self-respecting music directors must have surely resented his ‘value addition’ to the lyrics. One of the music directors of the 40s ( I am not very sure but it was probably Shyam Sundar) had a tiff with him on this issue and he never worked with him.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
I have been going through the biographies and profiles of some of the well known Urdu poets – Mirza Ghalib, Ibrahim Zauq, Mir Taqi Mir, Daagh Dehlvi, Majaz Lucknawi, Firaq Gorakhpuri, Josh Malihabadi, Jigar Moradabadi etc. Most of them had faced prolonged pains and sufferings due to certain events that had happened in their lives. It is said that shaayars’ personal pains and sufferings bring the best shaayaris as these are born out of their first hand experiences. The lovers of ghazals still remember the poignant and melancholic ghazals of Ghalib, Mir, Firaq, Jigar etc.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Shammi Kapoor got branded as the ‘rebel star’ after the success of his film ‘Tumsa Nahin Dekha’ (1957). In this film, for the first time, he moved away from the conventional type of acting set by the big three of his time – Dilip Kumar, Dev Anand and Raj Kapoor and developed his own style of acting. Almost around the same time, Sahir Ludhianvi also got tagged as the ‘rebel poet’ after the phenomenon success of the films ‘Pyaasa’ (1957). The streak of ‘rebelliousness’ in Sahir was confirmed when the songs of ‘Phir Subah Hogi’ (1958) became hit though the film did not get as much success at the box office as was expected. Both these films have been known for Sahir’s hard hitting lyrics on the deprivation of minimum standard of living for the lower strata of the society.
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Humne tumne kiyaa thha jo aabaad
Posted on: July 3, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It is generally believed that scriptwriters (I use this word to include story, screenplay and dialogue writers) in Hindi films gained recognition and their status enhanced thanks to Salim-Javed duo who reigned over Hindi film industry with their fast paced screen plays and dialogues during 70s and early 80s. In fact, those days during our family discussions, if someone gives a hard hitting response, we used to say “here comes Salim-Javed” which would help in bringing normalcy to the ongoing heated disussions. The duo became so popular that they used to decide who would be the lead actor in the films for which they wrote scripts. It is also believed that in addition to their fixed component of fees, they would also get a share of profits from the films for which they wrote. I have seen their names being printed in bold letters in film posters and newspapers advertisements signifying that along with lead actors, music director etc, the name of Salim-Javed also played a role in attracting cinegoers to the movie halls.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
My familiarity with the film CHAAND (1944) was limited to its iconic song ‘do dilon ko ye duniyaa milne hi nahin deti’ until a few years ago. I had watched the video clip of this song many times in the past. With its beautiful lyrics, I felt that I should watch this full movie before I attempt to write an article on the song. Fortunately, the video of this film is available on the internet.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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